Past Study Days at Stapleford Granary
3 November 2018. Remembering the First World War
20 October 2018. Understanding King Lear
15 September 2018. Reading A Room of One’s Own
17 March 2018. E. M. Forster: For Love of Italy
18 February 2018. Reading Tennyson
28 January 2018. Reading Great Expectations
12 November 2017. Ali Smith and Gillian Beer: Reading and Conversation
16 September 2017. Reading Mrs Dalloway
11 June 2017. Reading The Waste Land
13 May 2017. Creative Writing
29 April 2017. Reading Pride and Prejudice
25 February 2017. Alice in Space
17 September 2016. Reading To the Lighthouse
Remembering the First World War
War and memory
It is 100 years since the First World War ended. Its bitter legacy was felt long into the twentieth century and beyond. Two leading scholars explored some of the beautiful and disturbing writings of the war. How does that literature speak to us now?
Ivor Gurney and Wilfred Owen: War Poetry, War Music
Kate Kennedy, Oxford
The First World War, more than any other conflict, is viewed through the literature it inspired. Wilfred Owen is one of the most influential of the war poets. How strongly has Owen’s verse shaped our sense of what war poetry should be? How has he influenced our understanding of the war itself?
We also looked at Ivor Gurney, war poet and composer. When all the other war poets were saying ‘Goodbye to All That’ after the Armistice, Gurney, abandoned and alone in a mental asylum remained a war poet well into the 1920s. Gurney wrote his trench experiences into his music as well as his poetry. Kate Kennedy explore Gurney's poetry and song to understand his unique sense of war and mental illness.
The Shock and Sadness of War
Trudi Tate, Cambridge
How did civilians bear witness to the trauma of the First World War? Did civilians suffer from shell shock? After the war, both civilians and veterans felt disappointed and disillusioned by the peace. What had the war achieved? This lecture explored First World War writings of Virginia Woolf, Rudyard Kipling, D. H. Lawrence, and others. Trudi Tate also looked briefly at the history of Tank Banks in 1917-18, and reflected upon the political implications of war propaganda.
Kate Kennedy is Associate Director of the Oxford Centre for Life-Writing, Fellow of Wolfson College, Oxford, and author of a forthcoming biography of Ivor Gurney.
Trudi Tate is Fellow of Clare Hall, Affiliated Lecturer in the Faculty of English, Cambridge, and Director of Literature Cambridge. Her books include Modernism, History and the First World War (rev. edn 2013), Women's Fiction and the Great War, and Women, Men and the Great War. Website.
Both lecturers have published widely on the First World War. Their joint publications include The Silent Morning: Culture and Memory After the Armistice (2013) and special issues of the journals First World War Studies (2011) and the Ivor Gurney Journal (2007).
Link: some First World War poems.
Understanding King Lear
20 October 2018
King Lear is one of Shakespeare's greatest plays. Two leading Cambridge scholars led us through some of its powerful ideas. Probably written in 1604, King Lear tells the story of an ageing king who divides his kingdom unequally between his daughters. In the conflicts which follow, Lear gradually descends into madness. One injustice leads to another. He understands his own folly, too late. For a detailed summary of the plot, see the Royal Shakespeare Society website.
Fred Parker lectured on King Lear and 'the thing itself'.
Thus Lear hails Poor Tom, with a dreadful exhilaration at having got beyond all 'sophistication', all the ceremonial trappings of civilisation and culture, to arrive at last at the core, the bedrock, the naked truth of life. Or has he? For Poor Tom is not Poor Tom, but Edgar in disguise. His madness is a lie as well as a kind of truth. Where has King Lear arrived? Where is he going?
Here are the two conflicting impulses that shape King Lear: (1) the desire to get down to the hard, bare reality of things, set against (2) the convulsive insistence that there is more to life than this.
• Cordelia's 'Nothing' against the desire for the demonstration of love. •The realism of Goneril and Regan against Lear's 'Reason not the need'. • The Fool against the King.
• Foolish old men against emblems of significance.
• A necessary patience against 'the great rage'.
• The staging against the poetry, sometimes, or sometimes the poetry against itself.
This immense play cannot, of course, be contained within this dichotomy, but in this lecture Fred Parker explored how far it takes us before it breaks down.
Adrian Poole lectured on King Lear and the 'extreme verge'. This play has often been thought to extend traditional ideas of tragedy as far as they can go. His lecture started from the scene on Dover Cliff, and explored what it means – for the play, for its characters, for readers and audiences – to be ‘stretched out’.
Reading A Room of One’s Own
15 September 2018.
A Room of One's Own (1929) is regarded as Virginia Woolf's most influential book. What are her main ideas in the book, and how do they speak to us today? Three leading Cambridge lecturers led us through different approaches to the book, looking at the rich historical context in which Woolf was writing. We finished a round-table seminar.
Alison Hennegan, Women and Education
In A Room of One's Own, Woolf describes visiting a men's college and a women's college in 'Oxbridge', based quite closely on the Cambridge colleges which she knew well. Alison Hennegan discussed the importance of women's education in the book. What were the aims of the women's colleges established in the 19th century? Girton College was founded in 1869; Newnham College in 1871. What were their different views of women and education, and how does this context inform Woolf's ideas?
Trudi Tate, After the First World War
Trudi Tate explored what Woolf has to say about the First World War in A Room of One's Own. For Woolf, as for many intellectuals of the period, the war changed things very profoundly. How had European civilisation come to destroy itself this devastating conflict? Indeed, did the war throw the very idea of civilisation into question? The need to rebuild fractured societies and to secure a just peace were surely the most pressing issues for Britain and for all of Europe in the 1920s. Women must be part of that process. How did the war alter our perception of the world, and where would we go next? What part might literature play in this process?
Susan Sellers, Woolf as Essayist
This lecture focused on Woolf as an essayist, looking at how her essay-writing developed in tandem with her highly experimental fiction-writing. It explored Woolf’s influences as an essayist, indicate the very wide range of subjects she wrote on, and outline how her essay-writing changed over time. In particular, it examined the highly fruitful cross-fertilisation that took place between Woolf’s fiction and non-fiction throughout her career. A Room of One’s Own, published in 1929, was considered in light of the famous fictional ‘discovery’ Woolf made while working on her novel Mrs Dalloway (published in 1925), her sophisticated understanding of comedy, and her other major work of essay-writing, Three Guineas (1938).
E. M. Forster: For Love of Italy
17 March 2018.
Italy is the setting for some of Forster's best-loved works: Where Angels Fear to Tread (1905), A Room with a View (1908), ‘The Story of a Panic’ (1904). What does Italy mean to Forster? What do his characters find in Italy, and in themselves, when they go there?
Alison Hennegan explored how Italy helped Forster to understand repression, and to find ways out of it. Why did Italy appeal to gay English writers of the early twentieth century? Part of Alison's lecture can be read on our Blog page, March 2018.
Jeremy Thurlow discussed why music is important in Forster's Italy novels, especially for the women characters. Music can express ambitions and passions which women in the early twentieth century were not usually allowed to explore. Jeremy is a wonderful pianist and played examples on the piano to illustrate his lecture. We finished with a round-table discussion. Warm thanks to our students and lecturers for a fantastic day.
On 18 February 2018 we studied the great Victorian poet Alfred Lord Tennyson (1809-92). Ewan Jones lectured on Maud and gave a marvellous reading of the entire poem, which took about an hour. Oliver Goldstein read and lectured on some beautiful short lyric poems. Participants included members of the Tennyson Society as well as readers new to Tennyson. We finished the day with a fascinating round-table discussion.
Tennyson's poetry read aloud by members of the English Faculty, Cambridge, 2009.
English Faculty, Cambridge, short articles on Tennyson.
British Library on Tennyson.
Poetry Foundation on Tennyson's life.
Tennyson Research Centre.
Andrew Motion reads Tennyson, Poetry Archive.
Reading Great Expectations
28 January 2018.
Great Expectations was published 1860-61, and is set earlier, between 1812 and 1840. For useful historical background to the novel, see Stanford University's webpages, Discovering Dickens.
Corinna Russell, Great Expectations and the Story of Economic Man
Dickens is famous for his brilliant understanding of money and its effect on people. In Great Expectations, we see Pip learning about himself, coming to understand who he is. One thing he discovers is that he is part of an economic system over which he has no control. His life is shaped by the economic machinery of bank notes, credit, promises, oaths and fraudulent practices. Adults treat him as an object, a toy, something they think they can buy, sell, and control.
What does this mean? How does Pip survive the brutal economy into which he is born; how does he negotiate its transactions?
Jan-Melissa Schramm, Mercy for Magwitch? Dickens and the problems of poetic justice in Great Expectations
In Great Expectations, Magwitch is transported as a convict to New South Wales. Convicts are represented as a form of portable property, ‘carted here and carted there … as much as a silver tea-kettle’, with lives ransomed to the state for the most trivial of reasons. What does the novel say about Magwitch’s experiences, and what does this tell us about Dickens’s views of mercy, guilt, innocence and human freedom? The lecture also looked at some contemporary novels which retell Magwitch’s story.
Ali Smith and Gillian Beer in Conversation
12 November 2017.
We had a full house for a fascinating hour of reading and conversation between author Ali Smith, whose novel Winter had just been published, and scholar Dame Gillian Beer, whose most recent book Alice in Space won the Truman Capote Award. After the event the audience stayed for a cup of tea and talked informally with the speakers.
Dan Baski reviewed the conversation in Darrow magazine.
Reading Mrs Dalloway
16 September 2017.
Mrs Dalloway (1925) is one of Woolf’s best-known novels. But how well do we understand it today? What is the novel really saying about the First World War, about shell shock, about love, gender and family relations? This study day explored the historical context of this intriguing, lyrical novel about two inhabitants of London – a society hostess and a shell-shocked soldier – whose lives overlap but who never meet.
Set on a single day in 1923, Mrs Dalloway has a very sharp eye for the issues of its day, and has things to say to us in our time. Three leading Woolf scholars gave lectures which are both informed and accessible to a wide audience. We finished with a round-table seminar.
Reading The Waste Land
11 June 2017.
T. S. Eliot’s poem The Waste Land (1922) is one of the monuments of modern English literature. But how do we make sense of this strange, fragmented piece of writing? How do we begin to read it – what were Eliot’s concerns when he was writing, just after the First World War – and how does the poem speak to us now? Expert lecturers Michael Hrebeniak and Sarah Cain opened our eyes to this poem, helping us to understand some of its interests and its literary techniques, and showing us why The Waste Land can be so rewarding to read. We also enjoyed the amazing experience of hearing the poem read aloud in full by Cambridge scholar Robin Kirkpatrick. A superb experience.
Creative Writing Workshop
13 May 2017
This exciting workshop was led by acclaimed author and scholar Susan Sellers from the University of St Andrews. Susan explored ideas about how to get started, what to write about, and how to engage readers, and finished with a discussion of online and commercial publishing. She offered tips and useful exercises on voice and point of view, character and world-building, dialogue, plot, and the crucial role of self-editing. Participants found the day really rewarding.
Reading Pride and Prejudice
29 April 2017
We enjoyed two stunning lectures by leading Austen scholars Fred Parker and Anne Toner.
Fred Parker, Disclosing and declaring love in Pride and Prejudice.
Pride and Prejudice is a novel about love and about marriage proposals; about how one speaks, and speaks out, in the early nineteenth century. Fred Parker explore the difficulty of communicating one’s feelings in a culture where all exchanges in public – especially between men and women – are understood to be coded and convention-based. Is it possible to be polite and sincere? It’s a question that also bears on the playful indirectness of Austen’s own narrative voice.
Anne Toner, Jane Austen's dialogues: drama and innovation.
Anne Toner discussed Jane Austen’s celebrated dialogue. She examined what is innovative about Austen’s dialogue and what readers have loved about it. She explored its relation to drama, and how Austen’s innovations in dialogue relate to her developments in depicting consciousness.
Tragedy: Past and Present
18 March 2017.
An inspirational day of lectures by leading Cambridge scholars, Jennifer Wallace, Adrian Poole and Alison Hennegan. The day gave us a glimpse of the monumental Tragedy paper taught to undergraduates in the English Faculty, Cambridge. For some extracts from the lectures plus a list of further reading, see our Blog page, 19-23 March 2017.
What is tragedy; how have its literary and theatrical traditions changed (or not) over the centuries? What can we learn from it now? Where does tragedy go, once the word ceases to be defined as a type of drama? Do novels, operas, lyric poetry, or paintings have the capacity to be tragic? We might think of Goya, Verdi, Dosoyevsky, Hardy, or Wilfred Owen.
The study day introduced participants to Greek, Shakespearean, and modern tragedy, with each lecture followed by questions and discussion. It was a unique opportunity to learn something of the history and power of tragedy, as it is taught to Cambridge undergraduates, and to think about how tragedy speaks to us today.
Jennifer Wallace, Greek Tragic Performance
Adrian Poole, Shakespeare, Tragedy and Rome
Alison Hennegan, Modern Tragedy: A Contradiction in Terms?
Greek Tragedy: Sophocles, Antigone; Sophocles, Electra; Euripides, Bacchae
Shakespeare: Julius Caesar, Antony and Cleopatra, Coriolanus
Modern Tragedy: O'Neill, Mourning Becomes Electra (1931); Orton, What the Butler Saw (first performed posthumously 1969); Kane, Phaedra's Love (1996)
Alice in Space
25 February 2017.
A fascinating afternoon of lectures on the rich intellectual world of Lewis Carroll. Dame Gillian Beer discussed some of the ideas in her recent book, Alice in Space: The Sideways Victorian World of Lewis Carroll (Chicago UP, 2016). Zoe Jaques explored the ways in which Carroll wrote about animals. To read some extracts from the lectures, see our Blog page, 1 March 2017.
Reading To the Lighthouse
Our first Study Day took place on 17 September 2016 with a day on Virginia Woolf's much-loved novel of yearning, loss, love, and mourning, To the Lighthouse (1927). Three Woolf scholars reflected upon the novel from different angles. Dame Gillian Beer explored the wealth of story-telling within To the Lighthouse. Trudi Tate discussed mourning the Victorian mother. Frances Spalding talked about Cézanne, Roger Fry, and visual art in To the Lighthouse.
For a report on the lectures, please see our Blog page for 19 September 2016.